VI.
The Forms of Erotic Symbolism are Simulacra of Coitus—Wide Extension of Erotic Symbolism—Fetichism Not Covering the Whole Ground of Sexual Selection—It is Based on the Individual Factor in Selection—Crystallization—The Lover and the Artist—The Key to Erotic Symbolism to be Found in the Emotional Sphere—The Passage to Pathological Extremes.
We have now examined several very various and yet very typical manifestations in all of which it is not difficult to see how, in some strange and eccentric form—on a basis of association through resemblance or contiguity or both combined—there arises a definite mimicry of the normal sexual act together with the normal emotions which accompany that act. It has become clear in what sense we are justified in recognizing erotic symbolism.
The symbolic and, as it were, abstracted nature of these manifestations is shown by the remarkable way in which they are sometimes capable of transference from the object to the subject. That is to say that the fetichist may show a tendency to cultivate his fetich in his own person. A foot-fetichist may like to go barefoot himself; a man who admired lame women liked to halt himself; a man who was attracted by small waists in women found sexual gratification in tight-lacing himself; a man who was fascinated by fine white skin and wished to cut it found satisfaction in cutting his own skin; Moll's coprolagnic fetichist found a voluptuous pleasure in his own acts of defecation. (See, e.g., Krafft-Ebing, Op. cit., p. 221, 224, 226; Hammond, Sexual Impotence, p. 74; cf. ante, p. 68.) Such symbolic transference seems to have a profoundly natural basis, for we may see a somewhat similar phenomenon in the well-known tendency of cows to mount a cow in heat. This would appear to be, not so much a homosexual impulse, as the dynamic psychic action of an olfactory sexual symbol in a transformed form.
We seem to have here a psychic process which is a curious reversal of that process of Einfühlung—the projection of one's own activities into the object contemplated—which Lipps has so fruitfully developed as the essence of every æsthetic condition. (T. Lipps, Æsthetik, Teil I, 1903.) By Einfühlung our own interior activity becomes the activity of the object perceived, a thing being beautiful in proportion as it lends itself to our Einfühlung. But by this action of erotic symbolism, on the other hand, we transfer the activity of the object into ourselves.
When the idea of erotic symbolism as manifested in such definite and typical forms becomes realized, it further becomes clear that the vaguer manifestations of such symbolism are exceedingly widespread. When in a previous volume we were discussing and drawing together the various threads which unite "Love and Pain," it will now be understood that we were standing throughout on the threshold of erotic symbolism. Pain itself, in the sense in which we slowly learned to define it in this relationship—as a state of intense emotional excitement—may, under a great variety of special circumstances, become an erotic symbol and afford the same relief as the emotions normally accompanying the sexual act. Active algolagnia or sadism is thus a form of erotic symbolism; passive algolagnia or masochism is (in a man) an inverted form of erotic symbolism. Active flagellation or passive flagellation are, in exactly the same way, manifestations of erotic symbolism, the imaginative mimicry of coitus.
Binet and also Krafft-Ebing[[64]] have argued in effect that the whole of sexual selection is a matter of fetichism, that is to say, of erotic symbolism of object. "Normal love," Binet states, "appears as the result of a complicated fetichism." Tarde also seems to have regarded love as normally a kind of fetichism. "We are a long time before we fall in love with a woman," he remarks; "we must wait to see the detail which strikes and delights us, and causes us to overlook what displeases us. Only in normal love the details are many and always changing. Constancy in love is rarely anything else but a voyage around the beloved person, a voyage of exploration and ever new discoveries. The most faithful lover does not love the same woman in the same way for two days in succession."[[65]]
From that point of view normal sexual love is the sway of a fetich—more or less arbitrary, more or less (as Binet terms it) polytheistic—and it can have little objective basis. But, as we saw when considering "Sexual Selection in Man" in the previous volume, more especially when analyzing the notion of beauty, we are justified in believing that beauty has to a large extent an objective basis, and that love by no means depends simply on the capricious selection of some individual fetich. The individual factor, as we saw, is but one of many factors which constitute beauty. In the study of sexual selection that individual factor was passed over very lightly. We now see that it is often a factor of great importance, for in it are rooted all these outgrowths—normal in their germs, highly abnormal in their more extreme developments—which make up erotic symbolism.
Erotic symbolism is therefore concerned with all that is least generic, least specific, all that is most intimately personal and individual, in sexual selection. It is the final point in which the decreasing circle of sexual attractiveness is fixed. In the widest and most abstract form sexual selection in man is merely human, and we are attracted to that which bears most fully the marks of humanity; in a less abstract form it is sexual, and we are attracted to that which most vigorously presents the secondary sexual characteristics; still narrowing, it is the type of our own nation and people that appeals most strongly to us in matters of love; and still further concentrating we are affected by the ideal—in civilization most often the somewhat exotic ideal—of our own day, the fashion of our own city. But the individual factor still remains, and amid the infinite possibilities of erotic symbolism the individual may evolve an ideal which is often, as far as he knows and perhaps in actuality, an absolutely unique event in the history of the human soul.